Van Peebles, Mario Movie Reviews

Mario Van Peebles directed as well as starred in this ham-fisted, 1993 Western with a predominantly African American cast. The story finds a posse of black shooters (with one white member, played by Stephen Baldwin) taking on a racist sheriff and military man, but Van Peebles's effort at mixing convention with hip credentials gets pretty grating. (Tone Loc makes the worst cowboy in film history.) The film is also incredibly sexist, going well beyond the usual frontier-floozy clichés and lapsing into the sort of blatant exploitation one found at that time in rap-music videos. There are lots of cameo appearances from familiar folks willing to support Van Peebles on a project that probably sounded like a mix of experiment and event--Pam Grier, Isaac Hayes, Woody Strode, and the director's father, Melvin Van Peebles. But even they can't help. --Tom Keogh

Mario Van Peebles directed as well as starred in this ham-fisted, 1993 Western with a predominantly African American cast. The story finds a posse of black shooters (with one white member, played by Stephen Baldwin) taking on a racist sheriff and military man, but Van Peebles's effort at mixing convention with hip credentials gets pretty grating. (Tone Loc makes the worst cowboy in film history.) The film is also incredibly sexist, going well beyond the usual frontier-floozy clichés and lapsing into the sort of blatant exploitation one found at that time in rap-music videos. There are lots of cameo appearances from familiar folks willing to support Van Peebles on a project that probably sounded like a mix of experiment and event--Pam Grier, Isaac Hayes, Woody Strode, and the director's father, Melvin Van Peebles. But even they can't help. --Tom Keogh

MGM is grouping episodes from the new Outer Limits anthology series by theme rather than chronology for DVD, and this first collection compiles six episodes that focus on matters of the heart (and other body parts). Alyssa Milano's nude scene in "Caught in the Act" will probably garner the most attention, but the disc's strongest hour is "The Human Operators," a thoughtful, award-winning take on man vs. machine that's adapted from a story by science fiction legends Harlan Ellison and A.E. van Vogt. This reworking of the 1963-1965 science fiction series is competent but lacks the palpable suspense of the original series. Also, there's no sense of new ground being broken with its stories; the original series took risks with its parables on war ("Soldier") and technology ("O.B.I.T."). The new Limits also tackles issues, but the end results pack a lesser punch. Hardcore sci-fi fans may take to this tempered-down version; all others will find it mildly diverting. --Paul Gaita

This simple-minded account of the Black Panther Party is insulting to anybody who ever admired the positive qualities of the organization or at the very least took their militancy seriously. Melvin Van Peebles wrote the thin script, and son Mario directs it with little of the penetrating and expansive sensibility necessary to understand the subject in its broadest context. The presence of a big cast with a lot of familiar names and faces--including real-life Panther contemporaries Jerry Rubin and Dick Gregory--give the project a false air of importance. --Tom Keogh

Some pundits called it a flawed, exploitative action film that glamorized drug dealing and the luxury of a lucrative criminal lifestyle, spawning a trend of films that attracted youth gangs and provoked violence in theaters. Others hailed it as a breakthrough movie that depicted drug dealers as ruthless, corrupt, and evil, leading dead-end lives that no rational youth would want to emulate. However you interpret it, New Jack City is still one of the first and best films of the 1990s to crack open the underworld of cocaine and peer inside with its eyes wide open. It's also the film that established Wesley Snipes as an actor to watch, with enough charisma to bring an insidious quality of seduction to his role as coke-lord Nino Brown, and enough intelligence to portray a character deluded by his own sense of indestructible power. Director Mario Van Peebles stretched his otherwise-limited talent to bring vivid authenticity and urgency to this crime story, and subplots involving a pair of tenacious cops (Ice-T, Judd Nelson) and a recovering coke addict (Chris Rock) provide additional dramatic tension. Although some critics may hesitate to admit it, New Jack City deserves mention in any serious discussion about African American filmmakers and influential films. --Jeff Shannon

The controversial, Reagan-era invasion of Grenada by U.S. troops is, oddly enough, at the center of this initially interesting story of a seasoned Marine sergeant (Clint Eastwood) routinely insulted by younger officers for being a symbol of the war that America "lost" in Vietnam. Looking for both a victory and a little redemption, Eastwood's character trains a squadron of scrappy pups and turns them into fighting grunts, just in time to follow White House orders and take the little island. Marsha Mason plays Eastwood's love interest, and Mario Van Peebles is funny as an undisciplined con artist who joins Clint's men and finally catches the spirit after getting his butt kicked a few times. --Tom Keogh